by Dr. Oliver FinlayARTS & MUSICVANCOUVER’S ICONIC ART SCENE IN REVIEWKits Point certainly has looked a little naked these past two summers, devoid of the familiar red and white tented villagethat has adorned Vanier Park over the previous 32, and become synonymous with the institution which it accommodates,Bard on the Beach. Fortunately, thanks to its loyal sponsors, provincial funding and avid supporters, its stages opened onceagain between early June and late September for season 33, headlined by the oft revisited Bard favourite, A MidsummerA Midsummer Night’s DreamNight’s Dream. The Othello-influenced Harlem Duet andthe classic Romeo and Juliet, have provided furtherShakespeare-inspired entertainment.Directed by Scott Bellis, this latest production of A MidsummerNight’s Dream references the style of the 1920s,chosen to highlight the historical similarities reflected betweenthat era and this, in relation to military conflict, civilunrest and a health pandemic. The magic entwined withinthis tale centres around the collision of characters that residein the neighbouring worlds of Athens’ military societyand the fairy realm of its nearby woods.As the great military commander, Theseus (played byIan Butcher) navigates a challenging prenuptial to Hippolyta(played by Melissa Oei), he is called on to mediate a disputebetween Egeus (played by Joey Lespérance), and hisdaughter Hermia (played by Heidi Damayo) over whethershe should marry her love, Lysander (played by Olivia Hutt),or Demetrius (played by Christopher Allen). Meanwhile, therulers of the fairy realm, Oberon (played by Billy Marchenski)and Titania (played by Kate Besworth) are also in disputeover the custody of a child, which precipitates an unrestand disrupts the harmony that normally exists between thespirit world and the natural world. When a group of tradespeople,preparing a play to honour the wedding of Theseusand Hippolyta, decide to rehearse in the woods, the sceneis set for the three groups’ stories to intertwine and create a series of misunderstandings, confusion, conflicting egos, and romantictwists, catalysed by Oberon’s mischievous fairy fixer, Puck (played by Sarah Roa).The polished production, which had initially been intended for the stage in 2020, was a colourful and musical delight, with a mixof humour at a family level, alongside the delivery of subtle double entendres to entertain the adults in the audience. Welcome backBard on the Beach and congratulations on welcoming your 2 millionth patron through the gates.Jason Mraz & Raining JaneAfter crossing paths at a concert in 2006, Jason Mraz and Raining Jane startedcollaborating in 2008 and have been amassing a significant collection of cowrittensongs ever since. Mraz’s latest tour, to promote his recently releasedalbum Lalalalovesongs, celebrates his greatest hits, as well as sharing the newsongs that have stemmed from this collaboration. Consequently, the Vancouverset opened with the female folk-rock four-piece performing four songs, beforeMraz joined them on-stage to perform Let’s See What the Night Can Do.Without doubt, this was probably one of the most heart-warming concertsI’ve ever had the pleasure of attending, with the general ambience being one ofa night in with some extremely lovely friends, and the fuzzy feeling never let-up.Over the years Mraz has earned Platinum and Multi-Platinum sales in morethan 20 countries and tracks like Living in the Moment, Lucky and Have It Allhad the remarkably diverse audience singing along. The comfortable on-stagedynamic between Mraz and Raining Jane, created a sense that no-one wastaking themselves or their craft too seriously and exuded vibes of fun, love andhappiness. It may sound cheesy, but by the time the Queen Elizabeth Theatrehad been treated to, arguably Mraz’s most loved hits, I’m Yours and I Won’tGive Up, I’m confident that everyone whistled their way home in a far happierstate than when they arrived.106 ICONIC CONCIERGE
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